Sentences with phrase «of abstract painters called»

He soon became deeply involved in the avant - garde community around him, founding, along with painter Mark Rothko, a group of abstract painters called «The Ten.»

Not exact matches

Gottlieb was the most symbolic of these so - called Color Field painters and he became also the less abstract because he wanted to communicate stories in images.

As early as 2013, the Rubell Family Collection in Miami introduced a host of Chinese abstract painters to American audiences in an exhibition called «28 Chinese.»

For an abstract painter today experiencing for the first time, Monet's large scale paintings in the room called: Studies: Water Lilies, Weeping Willows, and Irises 1914 - 1919, beginning the second half of the exhibition there can only be a profound shock of recognition.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

There was an art collective, made up of abstract painters who were also trying to make sense of that situation, which was called Radical Painting.

Damien Hirst has called Hoyland ʻby far the greatest British abstract painter», adding: ʻHis paintings always feel like a massive celebration of life to me.»

It reminded me of the dilemma of my favorite abstract painters today, in the face of postmodern attacks and of the bulky institution now called Modernism.

De Kooning was one of a handful of influential abstract expressionists whom the critic Harold Rosenberg called «Action Painters.»

[Slide: James Siena] James Siena, a renowned abstract painter represented by Pace, recently opened a small gallery in Chinatown called Sometimes (Works of Art).

Frederick Hammersley was a Southern California abstract painter who appeared in an important exhibition in 1959 called Four Abstract Classicists, curated by the art critic Jules Langsner at the San Francisco Museum of Modern Art.

In 1995 I was awarded a Pollock / Krasner Foundation Grant for painting and also in 1995 I curated an exhibition of abstract painting from the late sixties / early seventies, called «Seven Painters» at the Nicholas / Alexander Gallery which was well received and well reviewed.

In October, the Portland Art Museum announced plans for its largest expansion since 2005: a $ 50 million project called the Rothko Pavilion in honor of late abstract expressionist painter Mark Rothko, who grew up in Portland and is one of the most significant American artists of the past 75 years.

For Australian abstract painters to look back at this moment, and compare it to their own, could prove quite beneficial, and force a complete reversal of what we are always taught, that Blue Poles and other paintings like it signify the end of the line for painting, the last port of call before the inevitable disembodiment into performance and conceptual art.

Only within the microcosm of abstract painting itself, where one pole is dominated by the extreme reductiveness of the so - called «Radical» painters and the other is exhausted by the sheer scope of Gerhard Richter's all encompassing photo - expressionism could Reed be seen as decadent.

BURGOYNE DILLER: After all, your so - called big institutions that were supposed to have done so much for the artists, you know, in the past, the Museum of Modern Art, and so on — I don't think they had a prohibition against showing American abstract painters, but they didn't show them.

By 1961, the flirtation with abstract expressionism has passed — the first skip — and given way to a pop primitivism in which the painter's crush on Cliff Richard is acted out by a pair of love - hungry blobs going at it like the clappers in a painting called We Two Boys Together Clinging.

This spontaneous practice has predecessors in the painters known as abstract expressionists or what Harold Rosenburg called action painters: the most exemplary of them being Jackson Pollock.

Call that box, if you will, «one of Utah's most talented abstract painters,» as Bob -LSB-...]

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

(in obituary published Oct. 7: Walter Darby Bannard; usually called by his middle name; b. Sept. 23, 1934, New Haven; d. Sunday [Oct. 2, 2016], Miami, aged 82; Color Field painter whose elegant, severe abstract paintings of the late 1950s and early»60s were the springboard for a lifetime's exploration of color, form, and the physicality of paint)

Though the AAA had been successful in helping abstract art gain acceptance among American critics and audiences, it was mostly only a certain type of abstract art that was being embraced, work possessing what the abstract painter and Bard College professor Stephen Westfall calls «a dynamic, geometric clarity.»

Olivier Debre was a French abstract and color field painter of the Post-War period, whose style was called fervent abstraction.

In the short film above, called Jackson Pollock 51, the American abstract painter talks about his work and creates one of his distinctive drip paintings before our eyes.

Putting aside what might arguably be called the novelty artists — a whole swath of modernist fashionistas labeled pop, op, conceptual, installations, etc., and with these I'd also include the abstract expressionists and action painters of yesteryear, funded by post-World War II corporate America — Herman Rose is up there with the major painters of the realist tradition, figures like Ryder, Bellows, Hopper, Soyer and Alice Neel.

In 1912 Lhote pursued his interest in abstract art by joining the Section d'Or a group of 20th century painters associated with Cubism, and a derivative called Orphism, who were active from 1912 to 1914.

Trans: Form / Color» at Meridian Gallery offers a snapshot of that process of change with a selection of works by an international cohort of abstract painters — calling itself «Trans» — who stay in touch through the Internet and occasional travel.

An esteemed figure in contemporary painting, Walker has been called «one of the standout abstract painters of the last fifty years» by The Boston Globe.

I'm not in any way advocating anyone starts mimicking the spaces (or anything else) of figurative art; I am suggesting (yet again, tiresomely) that abstract painters and sculptors compare their output with the best achievements of figuration, which of course includes some great modernist art, if that's what you want to call it.

«It's one of what I call «Life's Three Great Lies,»» says the abstract painter, pointedly.

Alex Bacon is a scholar, curator, and critic who has defended some of those abstract painters celebrated by collectors and maligned by critics — a loose group of young «sensations» called everything from «flip artists,» «crapstractionists,» «opportunists,» to «zombie formalists.»